Born in Rome, Roberta Mameli graduated in singing and in violin at the Nicolini Conservatory in Piacenza, followed by master classes with Bernadette Manca di Nissa, Ugo Benelli, Konrad Richter, Claudio Desderi and Enzo Dara.
She is regularly invited to perform at the most important opera houses and venues: Wiener Konzerthaus, Theater an der Wien, Concertgebouw Amsterdam, Cité de la Musique in Paris, Teatro Colón in Buenos Aires, Auditorium National de Lyon, Tokyo Opera City, Teatro del Maggio Musicale Fiorentino, Gran Teatre del Liceu in Barcelona, Teatro Regio in Turin, Grand Théâtre in Geneva, Bayerische Staatsoper in München, Staatsoper Unter den Linden and Pierre-Boulez Saal in Berlin, Shanghai Grand Theatre.
She collaborates with conductors such as Jordi Savall, Daniele Callegari, Diego Fasolis, Fabio Biondi, Federico Maria Sardelli, Ottavio Dantone, Ton Koopmann, Leonardo García Alarcón, Jean-Christophe Spinosi, Marco Armiliato, Francesco Corti, Enrico Onofri, the late Claudio Abbado, Alan Curtis, Christopher Hogwood, Václav Luks and Jeffrey Tate.
Much in demand for Early Music repertoire, she works with several ensembles on period instruments such as Akademie für Alte Musik Berlin, Complesso Barocco, Capella Cracoviensis, Accademia Bizantina, Le Concert des Nations, La Venexiana, Modo Antiquo, Europa Galante, I Barocchisti, Cappella Mediterranea, Il Pomo d’Oro, Collegium 1704.
She had great success singing the title role in Monteverdi’s « L’incoronazione di Poppea » with Diego Fasolis and Akademie für Alte Musik Berlin in 2018 at the Berlin Staatsoper and at Teatro Ponchielli in Cremona in 2023
She has appeared in numerous Baroque operas including Purcell’s « Dido and Aeneas » (Belinda), Vivaldi’s « Catone in Utica » (Cesare), Leonardo Vinci’s « Didone abbandonata » (title role) and Rameau’s « Les Indes Galantes » (Amour/Zaïre) in a Leonardo García Alarcón/Lydia Steier production at the Grand Théâtre de Genève.
She was seen on stage in Handel’s « Ariodante » (Ginevra) and « Agrippina » (Poppea), both at the Drottningholm Festival.
She embodied the role of Aci in « Aci, Galatea e Polifemo » for the Bucharest George Enescu Festival and London Wigmore Hall.
As for the Mozart repertoire, she was an amazing Vitellia in « La Clemenza di Tito » in Pierre-Emmanuel Rousseau’s staging at Théâtre de Rennes, Angers and Nantes.
She was Aminta ( Il Re Pastore ) at Teatro La Fenice in Venice and Arminda in La Scala’s production of La Finta giardiniera led by Diego Fasolis for the Shanghai Grand Theatre.
She’s a regular guest of the Music Festival Potsdam Sanssouci where she performed several rare operas.
Her discography contains L’Incoronazione di Poppea (Naïve), Il Ritorno d’Ulisse in patria by Monteverdi; Artemisia by Cavalli (Glossa); Il Diamante by Zelenka (Nibiru); La Scola de’ gelosi by Salieri (Sony DHM) and the following works by Vivaldi: Teuzzone, Orlando furioso 1714 (Naïve), Il Farnace, L’Incoronazione di Dario (Dynamic). Moreover, she released several solo albums among which “Round M: Monteverdi meets Jazz” (Glossa) and “Anime Amanti” (Alpha) awarded with the prestigious Diapason d’Or 2017.
Recent and future projects include La Contessa in « Le Nozze di Figaro » in the Mozart/Da Ponte Trilogy conceived by Marc Minkowski and Ivan Alexandre at Teatro Verdi di Salerno, the Bach’s Cantata BWV 51 under the baton of Ton Koopman at Teatro Petruzzelli in Bari, a Solo recital with Il Pomo d’Oro in Venice, the roles of Giunone + Eternità in Cavalli’s « Calisto » in a Christopher Moulds/David Alden production at Bayerische Staatsoper, a tournée in « L’incoronazione di Poppea » ( title role ) at Teatro Sociale di Como, Teatro Fraschini di Pavia, Teatro Verdi di Pisa and Teatro Alighieri di Ravenna and Teti in « Le nozze di Nettuno e Teti » conducted by Václav Luks at Wiener Konzerthaus.
